Journal of African Cinemas最新文献_第6页

The wo/man in the mirror 镜子里的女人

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Journal of African Cinemas Pub Date : 2020-03-01 DOI: 10.1386/jac_00027_1

L. Wagner

引用次数: 0

Much Loved transgressions: Morocco’s reflection in the mirror of its young prostitutes 多爱的罪过:摩洛哥在年轻妓女的镜子中的反映

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Journal of African Cinemas Pub Date : 2020-03-01 DOI: 10.1386/jac_00024_1

Samia Charkioui

引用次数: 0

In memory of Frank Ukadike 为了纪念弗兰克·乌卡迪克

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Journal of African Cinemas Pub Date : 2020-03-01 DOI: 10.1386/jac_00030_7

K. Harrow, Babatunde O. Onikoyi, K. Tomaselli, S. Petty, Vaughn Borden

引用次数: 0

The persistent instructor: 45 years of Kofi the Good Farmer in Ghana 坚持不懈的导师:加纳45年的好农民科菲

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Journal of African Cinemas Pub Date : 2020-03-01 DOI: 10.1386/jac_00028_1

J. Blaylock

{"title":"The persistent instructor: 45 years of Kofi the Good Farmer in Ghana","authors":"J. Blaylock","doi":"10.1386/jac_00028_1","DOIUrl":"https://doi.org/10.1386/jac_00028_1","url":null,"abstract":"In 1950, the Gold Coast colonial government published the 52-page pamphlet titled Kofi the Good Farmer. In 1953, it was adapted into a thirteen-minute instructional film of the same name. The film, like the booklet, follows a farmer named Kofi as he demonstrates proper cocoa-farming methods. Depicted as a remote, rural farmer who becomes successful because of his implementation of foreign farming techniques and his acceptance of the colonial government’s authority to determine and control the cocoa grading scale, Kofi provides evidence of paternalism and racialist colonial rhetoric in British colonial filmmaking. However, 34 years after the making of Kofi, it was re-shown to rural audiences. Why was a dutiful colonial subject like Kofi instructing cocoa farmers over 30 years after Ghana’s independence? And what can his use by the postcolonial state tell us about national governance? This article argues that the persistent use of Kofi by Ghana reveals the entangled relationship between colonialism and nationalism in postcolonial governance. Following the subtle changes that Kofi has undergone in his 45 years of government service, I highlight how government-sponsored films construct their audiences as remote in order to reinforce the power of the state in moments of political uncertainty.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"12 1","pages":"71-86"},"PeriodicalIF":0.1,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48731315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

A Companion to African Cinema, Kenneth Harrow and Carmela Garritano (eds) (2019) 《非洲电影伴侣》，肯尼斯·哈罗和卡梅拉·加里塔诺(编)(2019)

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Journal of African Cinemas Pub Date : 2020-03-01 DOI: 10.1386/jac_00029_5

A. Mututa

引用次数: 1

Hyenas/hustlers: An Afrosur/realist reading of Touki Bouki (1973) 鬣狗/骗子:对Touki Bouki(1973)的非洲主义/现实主义解读

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00016_1

Polo B. Moji

{"title":"Hyenas/hustlers: An Afrosur/realist reading of Touki Bouki (1973)","authors":"Polo B. Moji","doi":"10.1386/jac_00016_1","DOIUrl":"https://doi.org/10.1386/jac_00016_1","url":null,"abstract":"Abstract Using Amir Baraka's conception of Afrosurrealism as a black aesthetic form that is imbricated with 'lived life', this article proposes an Afrosur/realist reading of Djibril Diop Mambéty's Touki Bouki ('The hyena's journey') (1973). I explore the trajectory\u0000 of the iconic lovers Anta and Mory and their recourse to petty criminality as a means of escaping to Paris. I first consider how petty criminality or 'hustling' can be read in relation to Abdoumaliq Simone's notion of 'people as infrastructure' or a realistic reproduction of the African urban.\u0000 I then turn my attention to Membéty's surrealist portrayal of Anta and Mory as 'hyenas' ‐ or the archetypal figure of the stranger who poses a threat to the city's social order. Central to my analysis of the surreal as an expression of desire is the filmic reproduction of post-independence\u0000 Dakar on-screen. I pay attention to place-identity, and the filmic depiction of nodes and modes of mobility as sites of potential disruption to the city as a form of social order. The article thus subverts and complicates the dichotomy between the real and the surreal as cinematic forms that\u0000 reproduce the postcolonial African urban as both lived and imagined.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"193-205"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45582732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The cinematic city: Desire, form and the African urban 电影城市:欲望、形式与非洲城市

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00015_2

Danai S. Mupotsa, Polo B. Moji, Natasha Himmelman

引用次数: 0

'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos “Maisha yetu ya kila siku kama vile movie”:坦桑尼亚音乐录影带中的幻想、欲望和城市空间

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00018_1

D. Kerr

{"title":"'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos","authors":"D. Kerr","doi":"10.1386/jac_00018_1","DOIUrl":"https://doi.org/10.1386/jac_00018_1","url":null,"abstract":"Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland\u0000 Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including\u0000 continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also\u0000 serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal\u0000 and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these\u0000 videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences\u0000 by contemporary music video.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"225-240"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47925375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Dark and gritty/slick and glossy: Genre, Nollywood and Lagos 深色粗糙/光滑有光泽：流派、诺莱坞和拉各斯

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00022_1

Connor Ryan

{"title":"Dark and gritty/slick and glossy: Genre, Nollywood and Lagos","authors":"Connor Ryan","doi":"10.1386/jac_00022_1","DOIUrl":"https://doi.org/10.1386/jac_00022_1","url":null,"abstract":"Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films\u0000 are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by\u0000 backstabbing partners in crime, tables turning by chance, edgy armed standoffs and a surprising number of bodies in car trunks. Given the dark portrait of Lagos these films present, one might be inclined to read the genre cycle as a reiteration of the role Lagos has historically played as\u0000 embodiment of popular anxieties concerning insecurity, material inequality and social breakdown. And yet, in recent years, conditions within the city have markedly improved over those of the deepest point of urban crisis in the 1990s when Lagos was, indeed, paralysed by a generalized condition\u0000 of insecurity and dysfunction. New Nollywood's repertoire of film styles has expanded to include international film cycles and genres such as romantic comedies, psychological thrillers, police procedurals, among others. This raises important questions about the nature of correspondences between\u0000 cinema and the city, such as whether New Nollywood genre films tell us anything about social, cultural or historical circumstances in Lagos, or the place the city occupies in the popular imagination, for instance. Recent upmarket film noirs speak, instead, to the evolution of Lagos as a media\u0000 capital. I examine the different kinds of work genre performs in New and Old Nollywood films and propose a number of ways to critically interpret genre's various registers.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"295-313"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44306057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Filming the invisible: Rubrics of ordinary life in Stories of Our Lives (2014) 拍摄隐形人：《我们的生活故事》中的普通生活准则（2014）

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00020_1

Eddie Ombagi

引用次数: 1